HOW TO MIX PAINTS 





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COPYRIGHT DEPOSIT. 



HOW TO MIX PAINTS 



A Simple Treatise Prepared for the W^nts of 
the PraLCticaJ Painter 



BY 



C. GODFREY 



NEW YORK 
INDUSTRIAL PUBLICATION CO. 
1905 



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MAR 6 1^05 

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CLASS «- AXc Noi 

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COPY B. 



Copyright secured 1904 by 
Charles G. Peker. 






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PREFACE. 



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LTHOUGH house painting is a distinct 
and well-defined trade in itself, yet it 
merges into many other trades. For 
example, the carpenter, the builder, the carriage 
builder and many others are called upon from 
time to time to do more or less painting. The 
great difficulty with those who have not had the 
benefit of a long training and experience is in 
the mixing of colors. They may be able to pro- 
duce a good paint by taking so much white lead, 
linseed oil and turpentine; but when it comes to 
matching a given color they are usually at a loss. 
This little book is produced for the aid of such 
men. It does not pretend to be an exhaustive 
treatise, but as far as it goes it will be found to 
be accurate. 

Some of the principal colors in ordinary use 
have been selected and instructions are given as 
to how they may be produced. The reader may 
ask whether it would not be better to give the 
exact proportions of the different colors necessary 



PREFACE. 

to produce a given tint or hue. This plan is quite 
impracticable for the simple reason that the col- 
ors on the market vary so greatly in strength. 
If so many parts of different colors were men- 
tioned, the painter who used first-class materials 
would get a totally different result from one who 
was in the habit of using an inferior grade of 
goods. The author therefore decided that the 
most useful plan to follow is to give the method 
of producing a good color, and has taken mater- 
ials of ordinary quality as a basis. 

The writer trusts that this small work will 
be of considerable use to his readers. 

In conclusion I would state that this little book 
was written in conjunction and by arrangement 
with Mr. Arthur S. Jennings, of London, author 
of a larger work entiled "Paint and Color Mix- 
ing." 

The Author. 
New York, August j ist, 1904. 



CONTENTS. 



CHAPTER I. 

Page. 
Mixing Paints, Straining Paints, Brushes, Tints 

and Shades 7 

CHAPTER II. 
Reds - 22 

CHAPTER III. 
Blues 26 

CHAPTER IV. 
Yellows -. «-..„. . gi 

CHAPTER V. 
Browns -. 37 

CHAPTER VI. 
Greens 41 

CHAPTER VII. 
Greys - 45 

CHAPTER VIII. 
Colors Made from Black Japan - 48 

CHAPTER IX. 
Displaying Colors ------- 50 

CHAPTER X. 
Color Harmony ... ... 52 



Principles of Color Mixing, 



RED 



Primary Colors. 

BLUE 



YELLOW 



Secondary Colors. 



GREEN 


ORANGE 

A 


PURPLE 


BLUE 


YELLOW 


RED 


AND 


AND 


AND 


YELLOW 


RED 

Tertia.ry Colors. 


BLUE 


RUSSET 

A 


OLIVE 


CITRENE 


ORANGE 


r ^ 

ORANGE 


GREEN 


AND 


AND 


AND 


PURPLE 


GREEN 


PURPLE 



Tints. 

White added to any color gives a tint of that 
color. 

Shades. 
Black added to any color gives a shade of that 
color. 

(6) 



HOW TO MIX PAINTS. 



H 



CHAPTER 1. 

Mixing Pa.ints. 

|EFORE proceeding to describe the method 
of mixing various colors of paint it would 
be well to explain briefly what paint is 
and of what it is composed. The most familiar 
example of paint is the well-known white lead 
which, when applied to any material, covers and 
hides it and has the effect of preserving it from 
decay. If color be added to the white lead as a 
base, any tint may be obtained. The white lead 
is, when made, ready for use in the form of a dry 
powder ; but before it goes into the hands of the 
painter it is several times ground in linseed oil, 
and is then supplied to him in a thick, heavy 
paste, very similar in appearance to putty, ex- 
cepting that it is whiter. 

In order to bring this heavy mass of white lead 
into a condition suitable for its being applied to 



8 HOW TO MIX PAINTS. 

a wall, door or other surface by means of a 
brush, three materials are added : First, an oil, 
which is almost always linseed oil; second, tur- 
pentine, and third, driers. The object of the 
oil is to bind the particles of the white lead to- 
gether. Turpentine is added to thin down the 
mass so that it may be sufficiently liquid to apply 
easily. Driers are employed to assist the paint 
to dry. Some paints need more driers than 
others, therefore the reader must be warned 
here against the danger of using driers too 
freely. An excess of driers will actually retard 
the drying instead of assisting it. 

Zinc white is an excellent pigment which ex- 
ceeds white lead in value, according to the 
opinion of many, it being much whiter and finer. 

We may assume, then, that white lead or some 
other suitable pigment is the base of paint or 
color, and the object of this little book is to in- 
struct the reader how to obtain any one of the 
ordinary colors. 

In some cases lead may be absent. For in- 
stance, ochre can be used by itself, as can also 
metallic oxides. 

In most cases it is advisable when mixing a 



HOW TO MIX PAINTS. 9 

batch of paint to first mix the white lead and to 
add the color afterward. We will suppose that 
an ordinary batch of paint is to be mixed for use 
on the outside of a frame house. We should take 
a painter's can or pot and pour a little oil into it, 
taking care to "swill" it around, so that it 
touches every part of the inside of the can. The 
object of doing this is to prevent the lead stick- 
ing to the can, which it otherwise would do. 
We then take a knife or "paddle" (which is 
easily formed out of a piece of wood in the shape 
of Fig. 1) and remove a lump of lead from the 



o 



Fig. 1. 

keg and place it in the can and add a little oil. 
We then stir the paddle around in order to break 
up the lumps, adding oil and turpentine until the 
mixture is almost like cream. We have now, of 
course, a white paint ready for use, excepting 
straining, but we wish to make it of some par- 
ticular color, which we mix separately and add 
to the white in small quantities. 



10 HOW TO MIX PAINTS. 

The simplest way of mixing colors is to use a 
slab of glass or marble and to employ a spatula 
or a flexible knife. Place the color or colors on 
the slab, add a little oil and thoroughly mix them 
by means of the knife, adding more of any par- 
ticular color until the required shade is obtained. 
Add more oil and turpentine in order to secure 
the proper consistency. The color is now ready 
to be added to the white. 

It will clearly be seen that it will require a 
good deal of judgment to decide how much color 
to add to the white, so that it is well to experi- 
ment on a small scale before mixing a whole pot 
full, so that one may fairly well know the amount 
of color required for the pot of paint. It should 
be remembered that it is very easy to add more 
color to a pot of paint but impossible to take 
any from it. Therefore the color is best made by 
adding very small quantities at a time. Under 
no circumstances must dry color be added to a 
can of paint, as the results are quite sure to be 
unsatisfactory. In fact, it is wholly impossible 
for even an expert painter to produce a proper 
paint unless he mixes his colors separately If 
one is so unfortunate as to add too much color, 



HOW TO MIX PAINTS. 11 

the only thing to be done is to add enough of the 

white paint to produce the desired tint. 

It will be seen from the foregoing that mixing 
paints is a somewhat complicated process, re- 
quiring practice and experience; and it is proba- 
bly for this reason that ready mixed paints are so 
largely used throughout the United States. In 
England, Germany and France and many other 
places this class of paint is almost unknown. 
The objection to ready mixed paints is that they 
must be made of materials which will not deteri- 
orate or spoil when kept for some time. Of 
course ready mixed paint may be on the shelf of 
the painter's store for a year before it is used, 
and unless something was put in its composition 
to "disturb" it, it would become almost useless. 
To one very well known brand, sold throughout 
America, water is added in order to keep the 
paint from going "fatty." 

Having mixed first our batch of white paint 
and then added the color separately, we stir the 
whole up thoroughly with the paddle, try a little 
of the paint, and keep trying until at last we 
have the color required. 

But before the paint is ready to be applied. 



12 



HOW TO MIX PAINTS. 



there is a very important thing to do, viz., to 

strain the paint. 



Straining Paints. 

If one compares an ordinary job of painting 
done by a first-class painter with that executed 
by an amateur or less experienced hand, he will 
find in, perhaps, ninety-nine cases out of a hun- 





A— Body of Strainer. 

B— Clips to hold C and D in place. 

C— Compression Band. 

D— Wire Gauze. 

Fig. 2. 

dred, that the latter shows on its surface a num- 
ber of specks or little bits, while the former is 
beautifully smooth. The reason for this is that 
the painter knows enough to thoroughly strain 
every ounce of paint before he uses it. However 
fresh the materials may be that are employed 
there will still remain particles that have not 



HOW TO MIX PAINTS. 



13 



been reduced to the same consistency as the rest, 
and no job of painting can be successfully carried 
out unless all these little particles are removed. 

Paint strainers can be obtained cheaply enough. 
Those are best which have adjustable bottoms 
which can be removed. Some with wire gauze 
are good (see Fig. 2), but unless care is taken 




Fig. 3. 



this gauze gets rilled in with the paint and choked 
up in time. The kind which the writer likes 
best is intended to be used with a bit of muslin or 
coarse cloth. The usual form is shown in Fig. 3, 
excepting that it has a bottom having large holes 
in it. This is hinged on and the piece of muslin 
placed inside. The rim at the bottom holds the 
muslin in place, while the bottom supports it, 



14 HOW TO MIX PAINTS. 

and the holes let the paint drop through after it 
has found its way through the muslin. When 
this is used it is easy to work the paint around 
in the strainer with a brush or piece of stick so 
as to "persuade" as much of it as possible to 
pass through. Many painters strain all their 
paint at least twice, and some go as far as doing 
so three times. Personally, the writer believes 
that paint should be strained twice for good in- 
side work; but a coarse piece of muslin may be 
used the first time so that the actual process of 
straining be not too long delayed. The paint 
having been thus strained is quite ready for use. 
The reader may think, having read the fore- 
going, that the operation would take too much 
time, and no doubt for a totally inexperienced 
hand a considerable amount of time would be 
expended in obtaining the desired color. On the 
other hand, it is well worth learning to strain 
well ; and if once a man becomes an expert he 
can match a batch of color almost in a few 
minutes; the rest of the operation is quite sim- 
ple. There is also this advantage, that one 
knows what he is using. For cheap work cheap 
materials may be used. 



HOW TO MIX PAINTS. 



15 



A word may be said here as to the employment 
of machinery for mixing paints. No doubt large 




Fig. 4. 

manufacturers are able to send out their paints 
so beautifully fine and cheap because they have 



16 



HOW TO MIX PAINTS. 



powerful machinery for handling them. Now, 
painters who do any considerable trade will al- 
ways find it to their advantage to use a paint 
mixer. One is shown in Fig. 4, of English make; 




Fig. 5. 

but there are many others on the market that 
can be had without difficulty for a few dollars. 
The one shown in the illustration will hold five 
gallons, and a study of the cut shows that the 



HOW TO MIX PAINTS. 17 

paint holder revolves in one direction, while the 
stirrers inside revolve in another direction, thus 
mixing up the materials completely and in a 
very short time. A useful appliance for every 
paint shop is a handy paint mill, such as is shown 
in Fig. 5. It is very useful for grinding up the 
hard and dry paint which cannot be avoided, 
even in the best regulated shops, and, if prop- 
erly used, it saves its cost in a year. 

Brushes. 

One of the chief difficulties which many young 
painters have to deal with is in connection with 
the brushes they use. Frequently they use but 
common brushes, under the mistaken notion that 
it is economical to do so, while, in fact, the exact 
reverse is true. In the first place, it is impossi- 
ble to do good work with bad tools. Even the 
most expert workman cannot be expected to "lay 
off" a coat of paint evenly and quickly if he has 
a brush which consists of a good deal of horse 
hair instead of hogs' bristles, because such a 
brush lacks spring and elasticity. Moreover, 
cheap brushes last a very little time compared 
with those of good make. Possibly brushes of 



18 HOW TO MIX PAINTS. 

inferior quality are sold so quickly simply be- 
cause those who purchase and use them do not 
know how to keep them properly when not in 
use. A few hints on this important subject will 
therefore be welcomed by the reader. 

Writing Pencils. — Writing pencils should be 
washed in turpentine until quite clean and until 
every particle of paint is removed from them. 
They may then be placed aside and will be ready 
for use the next day. If they are not to be used 
again for some time they should be dipped in 
olive oil and smoothed between the thumb and 
finger from heel to point. 

Stipplcrs. — These brushes cost a good deal of 
money, and for that reason should receive great 
care. The manner of keeping them, however, is 
simple. They should be washed with pure soap 
and hot water, well rinsed afterward in cold 
water and then placed bristles downward to dry. 
It is advisable not to allow the bristles to support 
the brush, and a good plan to avoid this is to 
make a box in which they can slide. 

Varnish ' Brushes . — The general practice is to 
keep these brushes in turpentine. This is a great 
mistake. They should be kept in boiled oil or 



HOW TO MIX PAINTS. 19 

varnish; and on no account must they rest on 
their bristles but should be suspended by the 
the handle. It is advisable that varnish brushes 
be kept, as far as possible, in exactly the same 
kind of varnish as that in which they are in- 
tended to be used. 

Paint Brushes. — These brushes should before 
using be steeped in water to swell the bristles in 
the binding, and so prevent them from falling 
into the paint or on the work. After a thorough 
soaking the brush should be taken out of the 
water and well dried. They are then ready for 
use. 

Some authorities do not recommend putting a 
brush in water to soak, as a quantity of water 
is likely to be retained in the inside of the 
bristles (which are hollow), to the detriment of 
the brush. 

After brushes have been used they should be 
thoroughly cleaned in turpentine or soap and 
water. If a brush becomes hard it should be 
soaked in raw linseed oil for twenty-four hours 
and then washed out in hot turpentine. Varnish 
brushes should never be used in paint, nor paint 
brushes in varnish. 



20 HOW TO MIX PAINTS. 

By a little care in keeping brushes they will 
last a considerable time, provided that good ones 
are bought at the beginning, and that they are 
really made of pure hogs' bristles. 

Tints and Shades. 

It will be understood that in mixing a color it 
may be made either lighter or darker by adding 
white or black. The result of the addition of 
white to any color is called a "tint," and the 
addition of black produces what is termed a 
"shade." As a rule, it is dangerous to add 
black to a color because it will not often produce 
what is wanted. If a color is too bright it can 
be toned down by adding what is called its 
' ' complimentaries. " 

Without going into the subject of color har- 
mony or theoretical color to any extent, we may 
take the three primary colors, which are red, 
blue and yellow. If a red is too bright it can 
be toned down by the addition of a little blue 
and yellow; if a blue is too bright, a little red 
and yellow will take off its keenness; while if 
yellow is too bright, a little blue and red added 
will tone it down nicely. This is an important 



HOW TO MIX PAINTS. 21 

hint, because painters so frequently, when they 
are mixing colors, fail to obtain the right shade, 
and then proceed to add white, which makes the 
color too weak. Then they add black, which 
causes the color to be further away than ever 
from what is wanted. 

Sometimes a scheme of decoration is carried 
out in what is called " self-colors." This means 
that any color is taken, say sienna, and that the 
self-same color is employed in varying tints, that 
is, with more or less white added in various por- 
tions of the decoration. For example: We have 
made a room with pure sienna border, a con- 
siderable amount of white added for the main 
walls and less white on the frieze. Such schemes 
of decoration have the advantage of being simple 
in character, easy to produce, and within the 
scope of those who have not had considerable ex- 
perience in decorative matter. 



CHAPTER II. 
Reds. 



sa£^pi T E average conception of what a red is 



would probably come closer to a crim- 
son than a true red. If the reader will 
take the trouble to buy a cake of water color 
called 'Might red" he will find it to be some- 
thing very similar to burnt sienna. A true red 
is much nearer crimson; in fact, vermilion, a 
color which every one knows, is, perhaps, as cor- 
rect a red as one could have. The very bright 
reds are mostly made from aniline dyes and are 
not permanent, although if a coat of varnish be 
applied over them they will last almost, if not 
quite, as long as true vermillion. 

In the following list the principal reds are 
mentioned, and it may be stated generally that 
mixtures are not desirable when a bright red is 
required. It is much better to buy exactly the 
shade desired. At the same time one frequently 
has occasion to brighten a red or to make it less 
(22) 



HOW TO MIX PAINTS. 23 

bright. If it is too bright a little blue and yellow 
added will lower it nicely; but on no account 
must black be added or the tone of the color will 
be spoiled. To brighten red add orange, car- 
mine or madder. Try this with a small quantity 
of paint as an experiment. 

Apricot.— This color might perhaps be more 
properly included under the heading of yellow, 
it being a deep, dull orange red. It can obtained 
by mixing chrome yellow with a little vermilion 
and adding a very little lake or carmine. 

Blood Red.— This can hardly be said to be a 
well-known color, yet sometimes a color is called 
for under this name. It may be produced by 
taking bright red, and adding a little black until 
the desired tone is obtained. 

Brick Red.— Brick color means, of course, the 
color of red bricks. Add two parts of French 
ochre to one part of white lead and one part of 
Venetian red. If this is too bright add more 

ochre. 

Carnation Red.— This beautiful and brilliant 
color is obtained by mixing three parts of car- 
mine and one part of white lead. The brilliancy 
is added to if zinc white is used instead of white 



24 HOW TO MIX PAINTS. 

lead. This color is somewhat fugitive, hence not 
suitable for outside use. 

Cherry Red. — Mix crimson lake, raw sienna 
and azure blue, or take two parts of vermilion 
and one part of chrome. 

Claret. — This color may be obtained by mixing 
carmine with ultramarine blue. 

Flesh Color. — There are several ways of ob- 
taining this color. Orange, such as middle chrome 
yellow, added to white produces a flesh color ; 
but a better mixture is a little yellow ochre and 
a touch of Venetian red added to a considerable 
quantity of white as a base. Vermilion is some- 
times used, but this is too bright. 

Geranium. — This color is best produced by 
lightening up Indian red and glazing with mad- 
der lake, that is, giving a final or covering coat 
of that lake, which, being transparent, allows the 
under red to show through. 

Old Rose. — Tint white lead with French ochre, 
Italian red and lamp black. 

Peach Bloom. — Indian red, or preferably Vene- 
tian red, added to white lead gives this tint. 

Purple — Ultramarine and vermilion added to 
a little white gives a rich purple. 



HOW TO MIX PAINTS. 25 

Rose. — If this color is to be used inside, car- 
mine added to white lead will give a beautiful 
tint. This color will not last out of doors. 

Salmon. — Mix together one part of vermilion 
and six parts of white lead and then add a little 
lemon chrome yellow. 

Scarlet. — This is the name of a well-known 
bright red which is 'best purchased ready made. 
It can, however, be imitated by mixing bright 
vermilion with orange chrome and white. 

Wine Color — A little ivory black added to a 
mixture of carmine and vermilion will give this 
color. 



CHAPTER. III. 

Blues. 

fSHpgHE reader is advised to take samples of 
MMjmI the following blues to commence with 
in order to compare them, viz. : Prus- 
sian blue, ultramarine, cobalt, indigo and Bruns- 
wick blue. Now mix with each a little white 
and then a larger proportion of white and note 
the difference in tone. Cobalt is very near ultra- 
marine in shade. 

On the whole, Prussian blue is the most useful 
blue employed by the house painter; in fact, it 
is doubtful whether there is a more useful color 
employed in the trade. If it is of good quality it 
is very strong and a little of it will go a long 
way. Its strength leads to its adulteration to a 
considerable degree. 

The writer remembers a case which occurred 
some years ago, of a painter who had used a cer- 
tain adulterated Prussian blue, and had been in 
the habit of adding a little to his batches of 
(26) 



HOW TO MIX PAINTS. 



white in painting outside work, such as sashes; 
this blue, of course, being added to remove the 
yellow cast which white lead invariably possesses. 
He was persuaded to use a new make which cost 
a cent or two more a pound, but was very much 
stronger. He added this to the usual quantity 
and was astounded to find that instead of white 
he had a distinct sky blue! Prussian blue is 
sometimes used for a body color; but, if pure, 
it is generally necessary, owing to its great 
strength, to reduce it considerably. 

Cobalt.— This is an expensive color, and there 
are one or two substitutes on the market which 
are well worth the attention of painters. A 
warning should here be given concerning ultra- 
marine, which must never be mixed with white 
lead, or any pigment containing lead, chrome 
yellow, for instance, as a chemical action will 
take place, owing to the sulphur contained, 
which will result in the mixture losing its tone 
to a great extent, and becoming a dull, muddy 
color. A painter told the writer once that he 
had mixed ultramarine with lead for years, and 
never found it change color in the least; but an 
investigation showed that the so-called white 



28 HOW TO MIX PAINTS. 

lead was not white lead at all, but zinc mixed 
with a large proportion of barytes. 

Azure Blue. — A little ultramarine mixed with 
zinc produces this useful color. 

Blue Grass Tint. — This is as much a green as 
it is a blue, and is made by mixing three parts 
of Paris green with seven parts of white lead and 
one part of Prussian blue. The green being very 
transparent, although brilliant, and the blue very 
strong, a peculiar tint is obtained that can hardly 
be. produced in any other way. 

Bronze Blue. — This may be made by mixing 
three parts of black with one part of Prussian 
blue. This gives what may be looked upon as 
almost black with a blue cast. Of course, if a 
bright color is desired, more blue must be added 
or a greater quantity of white. 

Brunswick Blue. — This may be bought ready 
made. It can be looked upon as simply a Prus- 
sian blue lightened with white. 

Celestial Blue. — This name is given to a some- 
what greenish blue, which may be made by mix- 
ing equal parts of chrome green, Prussian blue 
and white lead, although more white lead may 
suit the wants of some painters best. 



HOW TO MIX PAINTS. 29 

French Blue. — This is the name applied to the 
best quality of artificial ultramarine. Ordinary 
ultramarine blue, mixed with one part of chrome 
green and four parts of white will approximately 
give the color. 

Heliotrope. — Mix together eight parts of zinc 
white, three parts of scarlet or other bright red 
and four of ultramarine. 

Lavender. — Ultramarine with a little carmine 
added to zinc will give a very good lavender for 
inside work. For outside work, use ultramarine 
and white lead mixed with a little carmine and 
ivory black. 

Marine Blue. — This is a very dark blue which 
is obtained with one part of ultramarine and six 
parts of ivory black. 

Mauve. — Four par& of oxide of zinc and one 
part of carmine lake gives an excellent mauve, 
but blue, red and white mixed in practically any 
proportions in which the blue predominates will 
give a tint which might not improperly be thus 
named. 

Nile Blue. — This is a pale greenish blue which 
may be obtained by mixing Prussian blue and 
chrome green with white. 



30 HOW TO MIX PAINTS. 

Oriental Blue. — Mix twenty parts of white lead 
and two parts of Prussian blue and one part of 
lemon chrome yellow. 

Peacock Blue. — This is best made by taking co- 
balt as a base and adding a little white and a 
little Chinese blue. 

Pompeian Blue. — Tint white with ultramarine; 
add a little vermillion and Italian ochre. 

Porcelain Blue. — Mix one part each of zinc 
white and chrome green with four parts of ultra- 
marine blue and add a touch of black. 

Robins' Egg Blue. — Tint white with ultra- 
marine and tinge with a little lemon chrome 
green. 

Royal Blue. — This is a very rich color which 
may be bought ready made. It may be imitated 
by adding a little white to Prussian blue with a 
touch of crimson lake. 

Sky Blue. — This is obtained simply by adding 
a little Prussian blue to white, say one part to 
one hundred. If a very fine tone is required, 
cobalt should be used instead of Prussian blue. 

Torquoise Blue. — Two parts of cobalt blue, one 
part of emerald green and twelve parts of white 
lead. 



HOW TO MIX PAINTS. 33 

should then be used to tint white lead in suf- 
ficient quantities to obtain the amber color re- 
quired. 

Brass Yellow. — This color is, of course, simply 
bright, strong yellow. It may be made by mix- 
ing white lead and canary chrome yellow in pro- 
portions of about ten of the former to one of the 
latter, and then adding a little raw umber or a 
little burnt umber. Some painters prefer to mix 
French chrome and medium chrome yellow. 

Bronze. — This color perhaps haidly comes un- 
der the head of yellows, although it is difficult to 
find a more appropriate heading. Mix one part 
of orange chrome with two parts of strong green 
and add this to about three times the quantity of 
black. 

Bronze Yellow. — This is best obtained by mix- 
ing chrome yellow and orange ochre and adding 
a little burnt umber. 

Buff. — Buffs and creams are very difficult to 
distinguish from one another. That is to say, 
there is no clear line of demarkation between the 
one and the other. An ordinary buff is made by 
tinting white lead with yellow ochre in the pro- 
portion of about two of lead to one of ochre. 



34 HOW TO MIX PAINTS. 

Sometimes a little black is added, or a little dull 
red; but as a rule the buffs are obtained simply 
by mixing white and ochres. 

Buttercup. — This bright yellow is easily made 
by mixing light chrome with white lead. 

Canary. — Some color manufacturers have an 
extra light chrome which they sell under this 
name. It can, however, be prepared by mixing 
three parts of yellow chrome and one part of 
zinc white. 

Cream. — A touch of Venetian red added to 
French ochre and white, and varying in propor- 
tions, gives a variety of creams. 

Daffodil. — Mix lemon chrome with a little Ven- 
etian red. 

Ecru. — French chrome and medium chrome 
yellow mixed with white lead gives a good ecru, 
but some painters prefer to use black, yellow and 
Brunswick green with white. 

Ivory. — A very little golden ochre added to 
white lead gives an ivory color. If antique ivory 
is required it can be obtained by painting the 
wood work white and then taking a little black 
japan, thinning it down with turpentine, stirring 
in a little chrome yellow, which will give it a 



HOW TO MIX PAINTS. 35 

slightly greenish cast. "Flow" this over the 
work, wipe it off, allowing it to give an antique 
appearance to the corners. 

Jonquil Yellow. — Sixteen parts of white lead, 
two parts of light red, one part of indigo and a 
considerable amount of chrome yellow gives this 
color; but many color makers simply add a little 
vermilion to chrome yellow to get it. 

Lemon. — Lemon chrome yellow can be obtained 
so easily that it is rarely that one desires to mix 
this color. A variety of tints can, of course, be 
obtained by adding white lead to chrome yellow 
until the desired color appears. 

Light Deck. — This is obtained by mixing lemon 
chrome yellow, medium chrome yellow and white 
in about equal proportions. Sometimes ochre 
only is used. 

Manila. — This color, which is sometimes called 
"deep deck," is made by tinting lead with yel- 
low chrome. 

Marigold. — This is obtained by mixing a little 
bright red with orange chrome until the desired 
hue is obtained. 

Old Gold. — This may be made by mixing ochre 
and burnt sienna, or, if a better tint is wanted, 



36 HOW TO MIX PAINTS. 

use medium chrome with a little vermilion and 
burnt sienna and add a very little black. 

Olive Yelloiv. — Take three parts of burnt um- 
ber and one part of lemon chrome yellow and 
olive yellow will be obtained, which may be 
varied in tint according to the quantity of yellow 
added. 

Orange. — This is simply orange chrome yellow, 
which is one of the commonest colors on the 
market. 

Primrose Yellow. — Lemon or light chrome 
should be used by itself. 

Stone Color. — White mixed with French yellow 
ochre and a touch of burnt umber gives this, or 
a little raw umber may also be added. 

Straw. — This is obtained by tinting white lead 
with chrome yellow ; if too vivid, add a little 
French ochre. 

Zinc Yellow. — This is a made color which has 
the advantage that it may be mixed with any 
other pigment without being influenced. 



CHAPTER V. 

Browns. 

|j|2|3glROWNS may be said to vary from colors 
which are nearly yellow down to those 
which are of a distinct reddish hue. Or- 
dinary browns may be said to range from such 
colors as umber, which is a deep, rich brown, to 
sienna. An ordinary sienna is a typical brown. 
When these colors are used for painting the out- 
side of frame houses, in combination with yel- 
lows and various shades of olive green, it is usual- 
ly best to keep them somewhat dull in tone. 
There are many ordinary browns which might be 
termed deep yellows; and there is a wide range 
of deep, dull reds which might be called the prin- 
cipal browns in common use. 

Auburn. — Mix three parts of golden ochre with 
one part of burnt umber, and add to this, say, 
twenty parts of white lead. 

Brunswick Brown. — This color is sold under 
this name, but an imitation can readily be ob- 
(37) 



38 HOW TO MIX PAINTS. 

tained by mixing one part of orange chrome yel- 
low and one part of yellow ochre, adding black 
until the desired shade is obtained. 

Bronze Brown. — This is a very dark color of a 
greenish cast. Black, colored with orange chrome 
and some bright green, may be used. An excel- 
lent bronze brown, which is somewhat trans- 
parent, is made by adding chrome green and 
orange to black japan. 

Chestnut Brown. — Two parts of Venetian red 
and four parts of medium chrome, with a little 
ochre, will produce a good chestnut. 

Chocolate. — Five parts of burnt sienna and one 
of carmine give a very rich chocolate. A less 
expensive color is obtained by mixing Indian red 
and lamp black with a little yellow ochre. 

Coffee Color. — To produce this color mix to- 
gether one part of burnt sienna, two parts of 
yellow ochre and five parts of burnt umber. 

Copper. — Two parts of medium chrome yellow, 
one part of Venetian red and one of black gives 
a good copper color. Zinc white, tinted with 
French ochre, Italian sienna and lamp black is 
preferable. 

Doe Color. — This is readily obtained by adding 



HOW TO MIX PAINTS. 39 

to raw sienna a little burnt umber and white 
lead. 

Drab. — There is a very wide range of drabs 
made by tinting white lead with burnt umber 
and Venetian red. Raw umber may also be used. 

Fawn. — This is a deep drab, and is made by 
mixing eight parts of white lead, one part of 
chrome yellow, one of Indian red and one of 
burnt umber; or white lead may be tinted with 
a mixture of French ochre, Indian red and lamp 
black. 

Leather Brown. — One part of blue black, two 
parts of white lead, three parts of Venetian red 
and four parts of yellow ochre give this color. 
Less black may be used if desired. 

Olive Brown. — This is easily obtained by mix- 
ing three parts of burnt umber with one of orange 
chrome yellow, or lemon chrome yellow may be 
used to tint raw umber. 

Orange Brown. — Two parts of orange chrome 
yellow mixed with three parts of raw sienna give 
this color. 

Sienna Brown. — Italian burnt sienna and raw- 
ochre mixed with pure zinc white or white lead 
if desired. 



40 HOW TO MIX PAINTS. 

Wall-flower Brown. — This is made by a mixture 
of medium chrome yellow and lake. Another 
way of producing it is to mix together crimson 
lake and burnt sienna, and adding medium 
chrome until the desired color is obtained. 



CHAPTER VI. 

Greens. 

JSH^jHERE is perhaps no more useful series 
M^^gS of colors than the greens which are now 
used so extensively in painting frame 
houses. There is no limit to the number of 
shades and tints which may be produced ; and all 
that one has to do is to vary their yellows or 
blues in order to obtain a green bright, strong 
or dull, as may be desired. The painter who 
wants to master the subject of greens should pro- 
ceed upon the lines previously recommended, 
namely, those of experimenting, and take Prus- 
sian blue and mix this with orange chrome yel- 
low, and then take the same quantity of blue and 
mix it with other shades of chrome. Note the 
difference in shade, and then, still using Prussian 
blue, next proceed to add yellow ochre, then 
burnt sienna, in fact, all sorts of yellows, but the 
same quantity of blue in each case. Next add a 
little black. 

(41) 



42 HOW TO MIX PAINTS. 

Having proceeded thus far, the young painter 
will have attained knowledge of most of the im- 
portant greens. Next, he should start again 
with medium chrome yellow and mix it with 
various blues, such as ultramarine, indigo, etc. 
Here, again, a little black may be added, also a 
little white. Some of the better greens are ob- 
tained by adding black to yellow, which gives a 
greenish cast. It should be noted here again 
that ultramarine blue must never to be added to 
white lead, as the sulphur contained in the latter 
will cause the mixture to turn black. It must 
not be forgotten that Prussian blue is a very 
strong color, and that a little of it goes a long 
way. It is best, therefore, to mix first in very 
small quantities so as to prevent waste. The 
following is a list of the principal greens in ordi- 
nary use. 

Blue Green. — Medium chrome green, lightened 
up with considerable white gives a perfect blue 
green. 

Bottle Green. — Five parts of medium chrome 
green, with one of blue black, gives this color. 

Bronze Green. — This very useful green is ob- 
tained by mixing either black or indigo with 



HOW TO MIX PAINTS. 43 

orange chrome yellow. A lighter bronze may be 
obtained by using lemon chrome. 

Chrome Green. — This color may be bought 
ready-made, but it may be imitated by adding 
Prussian blue to lemon chrome yellow in the pro- 
porti m of about one part of blue to sixteen 
parts of yellow. 

Emerald Green. — This is a well-known color, 
usually called in the United States " Paris green," 
and is largely used as an insecticide. It cannot 
be imitated successfully, but medium chrome 
green lightened up gives a bright color which 
may be substituted if nothing better can be 
found. 

Grass Green. — Medium chrome green lightened 
up with a little chrome yellow gives this color. 

Ivy Green. — This is produced by a mixture of 
French ochre, lamp black and Prussian blue. 

Moss Green. — Take medium chrome green and 
lighten it up with white lead, adding a little 
French ochre and a very little lamp black. 

Olive Green. — There is a wide range of olive 
greens varying in depth. Ten parts of chrome 
yellow, one part of Prussian blue and one part of 
light Indian red give an olive; but some painters 



44 HOW TO MIX PAINTS. 

prefer to add Prussian blue and black to chrome 
yellow, while others prefer, instead, to add a 
little yellow ochre. 

Pea Green. — Chrome green lightened up with 
about thirty or forty parts of white lead gives a 
pale bright green usually recognized by this 
name. 

Sage Green. — This is best produced by mixing 
French ochre, lamp black and Prussian blue with 
white or raw umber; chrome green added to 
white lead may also be used. 

Seered Green.— Tint white lead with French 
ochre, medium yellow chrome and a little bright 
green. 

Venetian Green. — Add to dark chrome green 
sufficient white lead to produce desired tint. 

Willow Green. — Tint white lead with medium 
chrome green, and add a little burnt umber or 
ivory black. 




m 



CHAPTER VII. 

Greys. 

l GREY" is a mixture of black and 
white, and may vary from the smallest 
quantity of black added to white to the 
other extreme, where a small quantity of white 
is added to black. Various colors are added to 
the mixture of black and white, producing a 
number of greys. 

Dark Grey.— This is usually obtained by mix- 
ing black and white with a little orange chrome 
or red. 

French Grey.— A little ivory or drop black used 
to tint white, with a very little carmine or crim- 
son lake and ultramarine, gives a very pretty 
French grey. The particular cast should be, in 
the words of a writer, just published, "French 
grey is often described as a tint which is neither 
blue nor red, but suggests both." 

Granite.— Add French ochre and lamp black to 

white lead. 

(45) 



46 HOW TO MIX PAINTS. 

Grey Drab. — This may be produced by mixing 
five parts of black with four parts of white and 
adding a little orange chrome yellow. 

Lead. — This is a dark grey which may be made 
by adding a little black to white, with sufficient 
Prussian blue to give the desired tint. Blue 
black or indigo may be used if desired. 

Light Grey. — One part of Prussian blue, one 
part of lamp black and from ten to twenty 
parts of white lead give varying shades of light 
greys. 

Mouse Color. — A little blue and yellow added 
to black will produce this color ; but burnt um- 
ber and a little Prussian blue added to from 
twenty to thirty times the bulk of white lead 
answers well. 

Opal Grey. — Add burnt sienna to cobalt blue 
and white. 

Pearl. — This color is produced in the same way 
as French grey, but is much lighter. 

Silver Grey — This is a delicate tint of a dis- 
tinctly bluish cast. Ivory and black may be em- 
ployed to produce it by tinting white; but a little 
Venetian red is sometimes used. 

Slate. — A mixture of about one part of Prus- 



HOW TO MIX PAINTS. 47 

sian blue to about twelve parts of black added to 
a little white will give this color. 

Steel Grey — This is made from white lead and 
lamp black to which has been added a little light 
chrome and orange chrome. 

Warm Grey. — Tint white lead with French 
ochre and lamp black. 




CHAPTER VIII. 

Colors Made from Black Japan. 

|ANY painters of great experience are 
not aware that a number of excellent 
colors can be obtained by the use of 
black japan or asphaltum varnish; but a few ex- 
periments will quickly show that many such 
colors, most useful in actual work, can be pro- 
duced by means of this material. 

It is well to observe that, strictly speaking, 
asphaltum is not permanent, and that in time it 
fades; but if a good, round coat of varnish is 
applied over it, it will last for a very considerable 
length of time. 

A bright red, such as vermilion, etc., gives, 
when mixed with japan black, a rich red which 
is very useful at times. Yellow added to it gives 
a neutral green ; in fact, any bright color may be 
added to produce a variety of different colors. 

When the painter is called upon to decorate 
relief material, such as Anaglypta, etc., he will 
(48) 



HOW TO MIX PAINTS. 49 

find that a color produced by mixing japan is 
very useful; but he must bear in mind the neces- 
sity of adding plenty of turpentine, which will 
cause the color to possess a transparency depend- 
ing for its depth upon the quantity of turpentine 
added. 

On the other hand, if body is required it may 
be obtained by adding sufficient drop black. 

Every painter should experiment with the 
above because he will find some surprising effects 
obtainable. 



CHAPTER IX. 

Displaying Colors. 

jSHEpjlHE ready-mixed paint manufacturers of 
HeGEi the United States have for a good many- 
years past vied with each other in pro- 
ducing aids for the painter in using their goods; 
and many of them send out ''color combina- 
tions," consisting of pieces of painted paper 
stuck down upon cards, and giving out color 
schemes for use in frame buildings. 

These are somewhat expensive to produce, but 
the painter who reads this should get all he can, 
for reference as well as for experiment. As a 
rule, they are too small to prove of much actual 
service, excepting to those who are well ac- 
quainted with colors and paints. 

Now, the painter who is called upon to paint 
the outside of a house will find that he will get 
the order much more readily if he can give his 
customer some idea of how the house will look 
when it is completed. The customer is usually 
(50) 



HOW TO MIX PAINTS. 



51 



shown some small samples of paint, and is ex- 
pected to make his selection from them. It can 
hardly be wondered at that disappointment often 
results. What the practical, .ingenious and clever 
reader ought to do is to prepare such samples 
that will convince a probable customer that he is 
well posted on color schemes. 




Fig. 6. 

In Fig. 6 is shown a device invented by Mr. 
F. Scott-Mitchell, an eminent English authority, 
which is intended to be used to show the colors 
of dado, frieze and wall space, different colors 
being used on the panels, as may be desired. It 
will be observed that this device folds up so as 
to be easily carried. Something of the same 
kind might readily be prepared by the practical 
man, showing colors suitable for outside work. 



m 



CHAPTER X. 

Color Harmony. 

'N this little book it is impossible to deal 
with the subject of color harmony in 
anything like a complete manner, but a 
few hints on the subject may prove useful. 

If it is desired to color the woodwork of a room 
in a hue which will go well with the wall-paper, 
the usual plan is to take the prevailing tint or 
color on the wall-paper, and to use this on the 
doors and other woodwork. As a rule, the stiles 
and rails may be darker than the panels, and if 
it is thought advisable, a third color may be in- 
troduced on the moulding. For example: If the 
paper be of a light green ground, with a floral 
pattern printed in darker green, and perhaps 
with a small pink flower, the following scheme 
would answer well. The stiles and rails could be 
green lighter than the ground, but, as a rule, 
not so dark as the floral pattern. The panels 
might be quite light, but not lighter than the 
(52) 



HOW TO MIX PAINTS. 53 

ground, unless the ground be particularly light, 
then pink might be used on the mouldings. 

If it be a delicate pink the whole of the mould- 
ings may be colored; but if of a strong color 
then it would be better to color with pink only 
a small section of the moulding, following round 
a few combinations, which will prove effective, 
both for inside and outside work. 

With yellow, plum color, slate or brown may 
be used. 

Orange goes well with a purple tone of red, 
and a canary colored surface will contrast nicely 
with a vermilion color or deep ivory. 

Terra cotta goes well with buff, sage green 
and Indian red or vermilion ; while a deep purple 
contrasts well with shades of olive green, Vene- 
tian red and lilac. 

A grey green ground is brightened up with a 
primrose color; a scarlet tone being introduced 
into the mouldings and trimmings. 

A pea green is toned down nicely by contrast 
with a chocolate and a lavender, while a grey 
agrees with a salmon color as well as with a deep 
blue. 



INDEX. 



The names of the colors printed in italics are those 
which may be obtained in dry powder form from the ma- 
jority of paint dealers. These colors are mentioned in 
the text of the book, hence a list of them will be found 
useful for reference. These colors are given in their 
alphabetical order as Avell as under the group, such as reds, 
blues, etc., to which they belong. 

amaranth lake — a red 

amber 32 

Antwerp blue. 

apricot . . -. 23 

asphaltum, Egyptian — a brown 

auburn 37 

azure blue 2i> 

Berlin blue 
Berlin red 
bistre — a brown 
blacks 

black lake 

blue black 

cork black 

Frankfort blaek 

ivory black 

lamp black 

plate black 

blood red 23 

blue black 

blue grass tint 28 



(55) 

LotC 



56 INDEX. 

blue green 43 

blue lake 

blues .20 

blues 

Antwerp 

Bremen 

blue lake 

cerulean 

Chinese 

cobalt 

celestial 

indigo 

Italian 

mineral 

Paris 

permanent 

Prussian 

steel 

ultramarine 
bone brown 

bottle green 42 

brass yellow 88 

Bremen blue 

brick red 23 

brilliant yellow 

bronze 83 

bronze blue . .28 

bronze brown 38 

bronze green 42 

bronze yellow 33 

brown madder 
broicn ochre — a yellow 
brown red 

browns 87 

browns 

aspthaltum, Egyptian 

bistre 

bone brown 

brown madder 



INDEX. 57 

browns continued 

burnt sienna 

burnt terre verte 

burnt umber 

cappah brown 

Cassel earth 

Cologne earth 

Mars brown 

mummy 

Prussian brown 

raw umber 

sepia 

vandyke brown 

verona brown 

Brunswick blue 28 

Brunswick brown 37 

brushes '? 

buff 33 

burnt carmine — a red 

burnt lake — a red 

burnt Roman ochre — a red 

burnt sienna — either a brown or a red 

burnt terre verte — a brown 

burnt umber — a brown 

buttercup 34 

cadmium yellow 



canary 



34 



cappah brown 
carmine — a red 
carmine, burnt — a red 

carnation red . . 23 

Cassel earth — a brown 

celestial blue . 28 

cerulean blue 

cherry red . 24 

chestnut brown ...... 38 

Chinese blue 

Chinese white 

chocolate . ..... 38 



58 INDEX. 

chrome red — a yellow 

chrome green .. 43 

chrome yellow— pale, medium and deep 
citron yellow 

claret 24 

cobalt— a. blue 27 

cobalt green 

coffee color .88 

Cologne earth — a brown 

color harmony ......... 62 

colors, displaying 51 

colors from black Japan 48 

colors, self 21 

copper 38 

cork black 

cream .34 

Cremnitz white 
crimson lake — a red 

daffodil 34 

dark green — see bronze green 

dark grey 45 

deck, deep 25 

deck, light 35 

doe color 38 

dove, see stone color 

drab 39 

drab, grey 46 

Dutch pink— a. yellow 

ecru 34 

emerald green 43 

fawn '69 

flake white 

flesh color 24 

Florentine lake — a red 
Frankfort black 

French blue 29 

French grey 45 

gamboge — a yellow 
gaude lake — a yellow 



INDEX. 59 

geranium 24 

geranium lake — a red 

gold, old 35 

gold ochre — a yellow 

granite 45 

grass green 43 

greens 41 

greens 

chrome 

cobalt 

emerald or Paris 

green lake 

malachite 

mineral 

permanent 

sap 

terre verte 

ultramarine 

Victoria 

verdigris 

zinnober 

zinc 



greys 



45 



harmony, color 62 

heliotrope 29 

imperial orange — a yellow 

Indian lake — a red 

Indian yellow 

indigo — a blue 

Italian blue 

Italian pink — a yellow 

ivy green • • .43 

ivory s 4 

ivory black 

jonquil yellow 35 

king's yellow 
lamp black 

lavender ** 

lead 4<J 



60 INDEX. 

lead, white 7 

leather brown 39 

lemon * . 35 

lemon yellow 

light deck 35 

light grey 46 

light red 22 

lilac — see French giw 
madder carmine — a red 
madder lake — a red 
magenta lake — a red 
malachite green 

raanila 35 

marigold 35 

marine blue 29 

maroon lake — a red 
Mars brown 

mauve 29 

mineral blue 
mineral green 

mixing colors 10 

mixing paints 7 

mouse color 46 

moss green 43 

mummy — a bro« n 

mustard — see primrose yellow 

Naples yellow 

Nile blue 29 

Nile green— see pea green" 

ochre 8 

ochre, burnt Roman 
ochre, yellow 

old gold 35 

old rose 24 

olive brown 39 

olive green 43 

olive yellow 36 

opal grey 46 

orange 86 



INDEX. 61 

orange brown 89 

orange, vermilion — a red 

Oriental blue 30 

Oxford ochre — a yellow 

paints, mixing 7 

paints, straining . 12 

Paris blue 
Paris green 

pea green 44 

peach bloom 24 

peacock blue 30 

pearl 46 

permanent blue 
permanent green 
perfect yellow 
pink madder — a red 
plate black 

Pompeian blue 30 

porcelain blue 30 

primrose yellow 36 

Prussian blue 
Prussian brown 

purple 24 

purples 

mauve lake 

purple lake 

royal purple 

violet 
raw sienna — a yellow 
raw umber — a brown 

reds 29 

Beds 

amaranth lake 

Berlin red 

brown red, French 

burnt carmine 

burnt lake 

burnt Roman ochre 

burn t sienna 



62 INDEX. 

Reds — Continued 

Florentine lake 

geranium lake 

Indian lake 

tight red 

madder carmine 

madder lake 

magenta, lake 

maroon lake 

Munich lake 

orange vermilion 

pink madder 

rose madder 

scarlet lake 

scarlet Vermillion 

Turkey red 

terra rosa 

vermilion 

Venetian red 

Vienna lake 

Victoria lake 

royal blue 30 

robin's egg blue ....'.... 30 

rose :25 

rose, old 24 

rose madder — a red 

royat purple 

Roman ochre — a yellow 

sage green 44 

salmon 25 

sap green 

scarlet 25 

scarlet lake— a. red 
scarlet vermilion — a red 
sea green — see pea green 

seered green , 44 

self colors 21 

sepia — a brown 

shades 20 



INDEX. 63 

shamrock green— see Venetian green 
sienna brown 
sienna, burnt — a red 
sienna raw— a. yellow 
signal red — see vermilion 

silver grey 46 

silver white 

sky blue 30 

slate 46 

steel — a blue 

steel grey 47 

stone color 36 

straining paints 13 

straw 36 

tea green — see olive green 
teak brown — see sienna brown 
terra cotta — see sienna brown 
terra rosa — a red 
terra verte — a green 

tints 20 

torquoise blue 30 

Turkey red 
ultramarine — a blue 
ultramarine green 
umber, burnt — a brown 
umber, raw — a brown 
Vandyke brown 
Venetian red 

Venetian green 44 

verdigris — a green 
vermilion — a red 
Verona brown 
Victoria green 
Victoria lake — », red 
Vienna lake — a red 
violet — a purple 

wall flower brown 40 

warm grey 47 



64 INDEX. 

whites 

Chinese 

Cremnitz 

flake 

silver 

zinc 

willow green 44 

wine color 25 

yellows 81 

yellows 

brilliant yelloiv 

brown ochre 

cadmium yellow 

chrome yellow — light, medium and deep 

chrome red 

citron yelloiv 

Dutch pink 

gamboge 

gaude lake 

gold ochre 

imperial orange 

Indian yellow 

Italian pink 

king's yelloiu 

lemon yellow 

milori yellow 

Naples yellow 

Oxford ochre 

perfect yellow — {<:ile or deep 

raw sienna 

Roman ochre 

yellow lake 

yellow ochre 

ultramarine yellow 

yelloiv madder 

zinc yelloiv 
zinc green 

zinc white 8 

zinc yellow 86 

zinnober green 



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